I was at mine scoffing up all the magazines that I wanted for vacation reading. B&N provided an additional 20% on top off my 10% for magazine purchases.

I have now enough reading for at least two month.

Sad news though, no Steely Dan, darn. Will check later in the week.

I need to stop by my local B&N and see what they have so I can give my wife the 311 on which magazines I want for the stocking!

B&N never takes the discount for magazines.

How did you pull that off?

Pete,

I always get my member discount on magazines. This weekend the member discount is doubled.

I'll try it, thanks for the tip!

They always deny me and it's in the fine print as well that magazines don't count.

That's on the coupons. If you're a rewards member, they do the 10% on that, and as Jay said, this weekend was double rewards. In addition, around Thanksgiving they sent out coupons, one of which was specifically for magazines.

Ah, that is the difference.

I should be OK then.

Was at B&N yesterday, still no signs of The Steely Dan issue.

Did pick-up the Monterrey Pop Deluxe Blu-ray for a 40% discount.

I did find the Steely Dan, so I picked that up with three other magazines (new Prog has Rush on the cover).

I looked at the new Monterrey Pop, but decided to hold off for now.

I also found the Steely Dan issue at B&N this week.

Geez, is Tampa a holdout here? Didn't see the new Prog with Rush either. I have a friend who is very ill and with Steely Dan as his favorite group this was going to be a stocking stuffer for him. I will need to come up with a replacement for Christmas in the meantime.

Yeah, Alan, I bought the Monterrey Pop (again ) but it only about $27.00 therefore I bit. I'll let you guys know what I think.

I bought the Steely Dan today.

It looks great.

I'm still reading the Prince issue.

I saw the Q magazine Oasis issue and it's mostly photos and interviews, doesn't look like any music analysis or album reviews so I wasn't interested.

Is that a regular Blu-Ray? I saw it today and wondered if I could stack the coupon (apparently so), but I saw the 4K thing on the back and it made me hesitate.

Actually Alan it was the Deluxe Blu-ray that includes Jimi at Monterrey and Otis Redding. The 4K is about the transfer but you are safe in that it's Blu-ray. With the coupon and member discount it was a real good bargain.

One last note, I had hesitated as well having the previous incarnations but a recent review on this edition states it is a improvement worth the investment. Will see....

Yep, that's the one I was looking at. I've never owned any version, so they're all something of an upgrade for me. I was pretty sure the 4K was referring to the transfer, but I had a bit of hesitation. Should have gone ahead. If I don't feel like heading out tom'w, I'll just order it from the web site - it'll only cost a couple bucks more. Still a heck of a bargain!

Another great one on the way!



In 2016, Tom Petty offered us a tantalising glimpse of what motivated him. This potent, highly ambitious sense of determination helped him leave Gainesville, Florida in the mid-Seventies and which, he explained, still drove him 40 years later.

“I’ve come to realise that I’m always pushing that rock up a hill,” he told Jaan Uhelszki. “Because we don’t take the easy way. But that’s who we are and that’s the way we do it and it’s always worked out fine. And I’m going to keep doing it.

“Lindsey Buckingham told me years ago about how Fleetwood Mac ended,” he continued. “He came over one day and I said, ‘Why the split? Why don’t you go back to them?’ He said, ‘Because it became no longer holy.’ That made a lot of sense to me. When the band is holy is when you walk away.”

Petty’s death last October unexpectedly brought the curtain down early on this remarkable career – leaving behind a peerless body of work in which the highest standards routinely prevailed and where the loyalty of his closest bandmates was enduring, heartfelt and without question.

Our latest Ultimate Music Guide celebrates Petty and his formidable catalogue – with the Heartbreakers and Mudcrutch, as a solo artist and under that storied nom de plume, Charlie T Wilbury. Inside, we present classic interviews from the archives of Melody Maker, NME and Uncut, tracking Petty and his comrades through 40 years of glorious music-making. This memorial issue – which is available to buy now from our online store and is in shops from Thursday – includes incisive new reviews of each of his albums as well as a round-up of collectables and miscellanea.

Evidently, it is painfully poignant that the final studio album released in Petty’s lifetime was Mudcrutch 2 – with the old Florida gang on band to end the story where it began. As Jason Anderson notes in his new review of that album, on one song, “Hope”, Petty sings, “You give me hope you help me even out… without even tryin’, you take away my doubt”. In such forthright gratitude expressed to his oldest collaborators – including Mike Campbell and Benmont Tench – we see Petty underscoring friendship, connectivity and a shared love for music. Simple qualities, in abundance here.


Read more at http://www.uncut.co.uk/blog/introducing ... mXUeGVm.99

I picked this up today. I dug through my pile and found the original issue, and it did stop before the live album. So, paid way too much for the small amount of new material, but it's Kate Bush.

I skipped the first one, and although I've always been intrigued by her art, at times it was like listening to my cat do opera.

However, she has done some incredible stuff, and after interviewing David Rhodes for my book and his talks with me about playing with her, I decided to pick this one up.

I really look forward to the Petty issue as well.

Very interesting they are now doing genre Ultimate Music Guides...



In the current issue of Uncut, Phil Manzanera looks back at the early days of Roxy Music. Among many things, he considers the slick visual presentation deployed by Roxy around the time of their debut album – cricket jumpers, diamanté-studded fly sunglasses, feather boas and all.

“Prog was the antithesis of showing off and dressing up,” he explains. “Getting to 1972, there was that period when all that came to 
a grinding end because of drugs – heroin killed everything, and everything became grey. And there was no showbiz element, which there had been with Tamla Motown and The Beatles, so with Bowie and with us it was going into colour and being flamboyant and having fun, but with some decent music. We never thought we were glam rock. Marc Bolan and Bowie had started quite a few years earlier and had been trying to find their thing; we came out of nowhere with an already-formed thing.”

It’s a useful, insider take on the context around which Roxy, Bowie, Bolan and many more besides evolved during the early Seventies, where “being flamboyant and having fun” seemed as critical to the creative process as it did a reaction against the more studied, unapologetic complexities of prog. Roxy’s splendid debut album is about to be released as a super deluxe box set – and, by timely coincidence, Uncut celebrates glam rock in the first of our new series, The Ultimate Genre Guide, which goes on sale this Thursday in the UK and is available to pre-order from our online store.

Here’s John Robinson, who edited this one, to explain more…

“As you will discover when you read this stomping new publication, there were many ways to be glam. Conceptual, like Roxy or Bowie. Flashy, and made for colour television, like Slade. Theatrical, like Alice Cooper, or chaotic like the New York Dolls. For our cover star Marc Bolan it was the fulfilment of childhood dreams of stardom – and fuel for the dreams of others.

“Perhaps more than anything else, it could be a key to reinvention and self-discovery. Roy Wood was a joint-passing hippy before he became the glitter-bearded star of Wizzard. Mott The Hoople were longtime triers about to quit, given another shot when they performed Bowie’s ‘All The Young Dudes’ – essentially glam’s national anthem. Elton John began the 1970s as an earnest balladeer, and was possibly more a glam rocker from expediency than anything else. Still, it allowed him to access elements of his showmanship, sexuality and general high spirits than he had previously managed.

“As the 1974 meeting with NME’s Charles Shaar Murray included here makes plain, Elton in some ways embodies glam’s improbable hotline connection between pure showbusiness and the man in the street. Having once changed his birth name from Reginald Dwight, he tells Murray that he’s now giving thought to a new middle name: Hercules (although he ‘could have called myself Fiona, I suppose. Elton Fiona John. Or Dalmatian.’) Stephen Dalton’s commentary details not only Elton’s glam recordings but also recounts several gossipy years of cattiness and fallings-out.

“There was no one way to be glam. There were some recognisable features – the intersection of ambiguous sexuality and hard, often 1950s-inspired rock; an emphasis on performance, posing and showmanship; great singles – but this was no straitjacket.

“Some artists – like Lou Reed or Iggy Pop – drifted into glam, took what they wanted and moved on. The lesser talents had their brief moment basking in its reflective glow. All round, it offered freedom, not confinement. (Unless you were The Sweet, of course – for whom the whole experience turned into a struggle for independence from their production team.)

“As David Cavanagh points out here in his writing about glam singles, not everyone could be as talented as David Bowie. Glam offered both the sublime and the ridiculous, whether that was the stellar run of albums Bowie made between 1970 and 1974, or a one-off exploitation single by one-hit wonders we’d now find filed under ‘junk shop glam’.

“You can read about all versions of the glam experience here, in a range of hilarious archive features – just who were Hair, Nose & Teeth? – and insightful new commentary. There are thoughts on glam film, glam art and glam’s legacy. You’ll read how our artists – from Bowie, Bolan and Slade through to Queen and Sparks (by 2018, glam’s only real survivors) – made, and were remade, by glam rock.

“So catch a bright star and place it on your forehead… and there you go.”

The March 2018 issue of Uncut is now on sale in the UK – with My Bloody Valentine and Rock’s 50 Most Extreme Albums on the cover. Elsewhere in the issue, there are new interviews with Joan Baez, Stick In The Wheel, Gary Numan, Jethro Tull and many more and we also look back on the rise of progressive country in 70s’ Austin, Texas. Our free 15 track-CD features 15 classic tracks from the edge of sound, including My Bloody Valentine, Cabaret Voltaire, Yoko Ono Plastic Ono Band, Flying Saucer Attack and Mogwai.


Read more at http://www.uncut.co.uk/blog/introducing ... ZTMTeuL.99

Anybody see the Petty issue yet?

Very pleased to see them update this one.

They did a previous "Deluxe" which I avoided because it added nothing, but now we go all the way through every album and additional new features are included as well!



Last summer, Tony Visconti shared his earliest memories of David Bowie with Uncut. They met in 1967, when Bowie, as an ambitious 19 year old, had already experienced a number of false starts in his career. “He had some experience in the studio and he was definitely a budding songwriter,” recalled Visconti. “I was introduced to him via his very first album on Deram, the one where he was all over the shop – no two songs are in the same genre. But he was on the fence then. Later on I asked him, ‘What would you do if you weren’t a rock star?’ He said, ‘I would have worked in musical theatre.’”

Bowie would have to wait 50 years until he finally got his wish to mount a musical. As it transpires, it was also the final work he completed before his death on January 10, 2016: Lazarus. Watching Lazarus in London less than a year after Bowie’s passing was a strange experience. As with the ★ album, it was hard to come to it without looking round for clues about Bowie’s own condition. “I’m a dying man who can’t die,” claimed Bowie’s protagonist/alter ego, Thomas Jerome Newton, and lines like that now seem freighted with Bowie’s own views on both his physical state and his artistic legacy.

We celebrate the full-span of Bowie’s career – from his self-titled debut to ★ and Lazarus – in The Ultimate Music Guide: David Bowie. The latest in our long line of upgraded and expanded deluxe titles, its 148 pages include in-depth reviews of every album and revealing archive interviews making it the most up-to-date work on Bowie’s career. Among the additional features in this edition, you’ll find our survey of Bowie’s 30 greatest songs, as chosen by colleagues and contemporaries including Visconti, Jimmy Page, Woody Woodmansey, Siouxsie Sioux, Morrissey, Dave Gahan and James Murphy.

It’s in shops on Thursday – but available now in our online shop – and it showcases an artist whose incomparable vision, and a determination to pursue it at any cost, has been in place from the very beginning. Another of the Guide’s new features is a comprehensive look back at Bowie’s 1960s, where his old friend George Underwood observes: “David was planning his career in his head before it happened… He said to me once, ‘I’m in this up to my neck.’” As if to underscore this point more publicly, Bowie told Melody Maker in 1972, “I’m going to be huge, and it’s quite frightening.” He was right, of course. This, then, is the story of how it happened.


Read more at http://www.uncut.co.uk/blog/introducing ... yEPaLce.99

I checked at my local B&N today (Feb 12), still no Petty issue. Should be later this week or next, though.